Escrita por
Paul McCartney mas creditada à dupla Lennon and McCartney, foi
gravada em 31 de julho e primeiro de agosto de 1968, no Trident
Studios, em Londres e lançada no compacto que tinha Revolution como
Lado B.
A canção
se chamava Hey Jules e é uma canção feita pra consolar Julian
Lennon, pois os pais dele estavam se separando. Foi o primeiro
compacto dos Beatles no selo deles, o Apple Records. Tem mais de sete
minutos e foi na época a canção de maior duração a chegar no
primeiro lugar dos charts britânicos na época. Ficou nove semanas
no primeiro lugar nos Estados Unidos, o maior tempo pra qualquer
canção dos Beatles. Vendeu mais de oito milhões de cópias.
Em maio de
1968, John Lennon e Cynthia Lennon se separaram, após o romance de
John com Yoko. Em junho, Paul foi na casa de Cynthia para visitá-la
e também para ver Julian, afinal ela era amiga e andava com os
Beatles desde 1963. Paul disse que não gostou da idéia dela se
tornar persona non grata entre eles, de repente.
Cynthia
gostou da visita dele e da preocupação e quando Paul saiu de lá,
compôs Hey Jude no carro. Paul disse que a idéia era dizer Hey
Julian, pegue uma canção triste e torne-a melhor, lide com essa
situação, porque Paul disse que sempre sentia pena das crianças
durante um divórcio.
Quando
mostrou a canção ao grupo, Paul prometeu mudar a frase: “O
movimento que você precisa está no seus ombros”, dizendo que era
uma frase idiota. John disse logo: “Não, você não mudar. É a
melhor frase da canção”. Então Paul deixou. E disse que durante
todos esses anos, quando canta Hey Jude, quando chega nessa frase,
ele se lembra de John e se emociona.
John viu a
canção com outros olhos. Ele dizia que a canção tinha sido feita
pra ele, onde Paul abençoava a união dele com Yoko, mas que sentia
também a perda de um parceiro e compositor.
A canção
foi gravada num ambiente de muita discórdia, devido a presença de
Yoko no estúdio. Pela primeira vez, não estavam felizes em gravar.
Ensaiaram em Abbey Road, mas gravaram no Trident porque eles tinham
uma máquina de 8 tracks e Abbey Road só tinha uma de 4. Nessa
época, George estava ficando de fora das músicas de Paul, mas
continuava contribuindo nas de John.
Num ensaio,
Paul e George tiveram uma discussão forte a respeito do solo de
guitarra de Hey Jude. George queria tocar a linha de guitarra em
resposta a cada linha vocal e não era isso que Paul queria e ele
vetou.
Paul cantou
e tocou piano, John tocou violão, George guitarra solo e Ringo
bateria. A gravação tem 50 segundos sem bateria. O que aconteceu
foi que Paul não percebeu que Ringo tinha ido ao banheiro. Quando
Ringo percebeu, voltou sem fazer barulho e entrou na música. Paul
disse que o timing foi perfeito e deixou assim mesmo. Todos bateram
palmas na gravação.
No dia
seguinte, Paul adicionou o baixo e backing vocal, John o backing
vocal, George o backing vocal e Ringo o pandeiro. E adicionaram a
orquestra, com parte composta por George Martin. Houve uma briga pois
John queria Revolution como Lado A, mas os outros três votaram por
Hey Jude. Hey Jude foi o décimo sexto número 1 dos Beatles nos
Estados Unidos e a canção número 1 de 1968. É a número 8 das
maiores canções de todos os tempos da revista Rolling Stone.
Hey Jude foi
regravada por Elvis Presley. Foi também regravada por Wilson
Pickett, com guitarra de Duane Allman. Eric Clapton diz que essa
guitarra de Allman na gravação de Pickett de Hey Jude é a melhor
guitarra de rock tocando numa gravação de R&B de todos os
tempos. Dizem que essa guitarra de Allman nessa música criou o
Southern Rock.
Paul tocou-a
na abertura dos Jogos Olimpicos de Londres, em 4 de agosto de 2012.
A letra:
Hey, Jude,
don't make it bad Take a sad song and make it better Remember
to let her into your heart Then you can start to make it
better
Hey, Jude, don't be afraid You were made to go out
and get her The minute you let her under your skin Then you
begin to make it better
And anytime you feel the pain, Hey,
Jude, refrain Don't carry the world upon your shoulders For
well you know that it's a fool Who plays it cool By making his
world a little colder
Nah, nah nah, nah nah, nah nah, nah
nah
Hey, Jude, don't let me down You have found her, now go
and get her Remember to let her into your heart Then you can
start to make it better
So let it out and let it in, Hey,
Jude, begin You're waiting for someone to perform with And
don't you know that it's just you, Hey, Jude, you'll do The
movement you need is on your shoulder
Nah, nah nah, nah nah,
nah nah, nah nah yeah
Hey, Jude, don't make it bad Take a
sad song and make it better Remember to let her under your
skin Then you'll begin to make it better, better, better, better,
better... oh!
Nah, nah nah, nah nah, nah, nah, nah nah, Hey,
Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah,
nah nah, nah nah, nah, nah, nah nah, Hey, Jude (Jude) Nah, nah
nah, nah nah, nah, nah, nah nah, Hey, Jude (yeah, yeah, yeah) Nah,
nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah, nah nah,
nah nah, nah, nah, nah nah, Hey, Jude (don't make it bad,
Jude) Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude (take
a sad song and make it better) Nah, nah nah, nah nah, nah, nah,
nah nah, Hey, Jude (oh, Jude) Nah, nah nah, nah nah, nah, nah,
nah nah, Hey, Jude (Jude, hey, Jude, whoa) Nah, nah nah, nah
nah, nah, nah, nah nah, Hey, Jude Nah, nah nah, nah nah, nah,
nah, nah nah, Hey, Jude (ooh) Nah, nah nah, nah nah, nah, nah,
nah nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah
nah, Hey, Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey,
Jude Nah, nah nah, nah nah, nah, nah, nah nah, Hey, Jude Nah,
nah nah, nah nah, nah, nah, nah nah, Hey, Jude [fade out]
Escrita por
Paul Simon, foi gravada em 2 de fevereiro de 1968, nos estúdios da
Columbia, em New York City e lançada em 5 de abril de 1968, no
compacto que tinha Old Friends/Book ends como Lado B.
Chegou ao
nímero 1 dos charts americanos e também número de vários outros
países como Reino Unido, Irlanda e Espanha. Em 1969, foi a primeira
canção de rock a ganhar um Grammy como gravação do ano. Foi
regravada por inúmeros artistas, de Bon Jovi e Frank Sinatra.
Joe Dimaggio
encontrou com Simon em um restaurante e perguntou a ele porque ele
perguntou pra onde ele tinha ido, se ele não tinha sumido. Simon
explicou que falou no sentido dele ser um herói americano e os
heróis americanos estarem em falta no mercado. DiMaggio aceitou a
explicação e agradeceu a Simon. Simon tocou Mrs. Robinson no
estádio dos Yankess em homenagem a DiMaggio quando ele morreu.
Paul Simon
tocou violão e cantou, Garfunkel cantou, Hal Blaine tocou bateria e
congas e Larry Knechtel tocou baixo.
A letra:
And here's to
you, Mrs. Robinson Jesus loves you more than you will know, wo wo
wo God bless you please, Mrs. Robinson Heaven holds a place for
those who pray, hey hey hey Hey hey hey
We'd like to know a
little bit about you for our files We'd like to help you learn to
help yourself Look around you, all you see are sympathetic
eyes Stroll around the grounds until you feel at home
And
here's to you, Mrs. Robinson Jesus loves you more than you will
know, wo wo wo God bless you please, Mrs. Robinson Heaven holds
a place for those who pray, hey hey hey Hey hey hey
Hide it
in a hiding place where no one ever goes Put it in your pantry
with your cupcakes It's a little secret, just the Robinsons'
affair Most of all, you've got to hide it from the kids
Coo
coo ca-choo, Mrs. Robinson Jesus loves you more than you will
know, wo wo wo God bless you please, Mrs. Robinson Heaven holds
a place for those who pray, hey hey hey Hey hey hey
Sitting
on a sofa on a Sunday afternoon Going to the candidates'
debate Laugh about it, shout about it When you've got to
choose Every way you look at it you lose
Where have you
gone, Joe DiMaggio? A nation turns its lonely eyes to you, wo wo
wo What's that you say, Mrs. Robinson 'Joltin Joe' has left and
gone away, hey hey hey Hey hey hey
Escrita por
Mick Jagger e Keith Richards, foi gravada entre 4 e 10 de junho de
1968 e lançada em 6 de dezembro de 1968 no disco Beggars Banquet. Na
música, é o diabo em pessoa quem conta sua história. Em primeira
pessoa, contando seu ponto de vista, contando as atrocidades da
história da humanidade.
Trata-se de
um samba rock. Um arranjo de rock e um ritmo de samba. É a música
de número 32 da lista das 500 maiores canções de todos os tempos
da revista Rolling Stone. A influencia foi de Baudelaire e de
Bulgakov, no livro The Master and Margarita. Esse livro só chegou na
Inglaterra traduzido em 1967 e foi dado a Jagger por Marianne
Faithfull.
A letra fala
do julgamento de Jesus, dizendo que ele ficou certo que Piltes lavou
as mãos para selar o destino de jesus. Fala das guerras de religião
na Euroa, dizendo que os reis e rainha lutaram por 40 anos por
deuses que eles criaram. Fala da violência da revolução russa e o
massacre da família Romanov. Fala da segunda guerra mundial, sobre a
morte dos Kennedys.
Nicky
Hopkins tocou piano, Rocky Dijon tocou congas, Bill Wyman tocou
maracas, Marianne Faithfull, Anita Pallenberg, Brian Jones, Charlie
Watts, Keith Richard e Bill Wyman e o produtor Jimmy Miller fizeram
os backing vocals. Keith Richards tocou baixo e guitarra solo na
gravação. Mick Jagger cantou. Charlie Watts tambem tocou sino de
vaca.
Foi
regravada pelos Guns and Roses em 1994. Foi usada essa versão no
filme entrevista com o vampiro. Slash diz que essa música é o som
da banda se separando. O outro guitarista da banda Gilby Clarke disse
que não foi chamado pra gravação da música e isso mostrou a ele
que estava for a da jogada.
Foi
regravada pelo Motörhead, entre outros artistas.
A letra:
Please allow me
to introduce myself I'm a man of wealth and taste I've been
around for a long, long year Stole many a man's soul and
faith
And I was 'round when Jesus Christ Had his moment of
doubt and pain Made damn sure that Pilate Washed his hands and
sealed his fate
Pleased to meet you Hope you guess my
name But what's puzzling you Is the nature of my game
I
stuck around St. Petersburg When I saw it was a time for a
change Killed the Tsar and his ministers Anastasia screamed in
vain
I rode a tank Held a general's rank When the
blitzkrieg raged And the bodies stank
Pleased to meet
you Hope you guess my name, oh yeah Ah, what's puzzling you Is
the nature of my game, oh yeah
I watched with glee While
your kings and queens Fought for ten decades For the gods they
made
I shouted out, "Who killed the Kennedys?" When
after all It was you and me
Let me please introduce
myself I'm a man of wealth and taste And I laid traps for
troubadours Who get killed before they reached Bombay
Pleased
to meet you Hope you guessed my name, oh yeah But what's
puzzling you Is the nature of my game, oh yeah, get down,
baby
Pleased to meet you Hope you guessed my name, oh
yeah But what's confusing you Is just the nature of my
game
Just as every cop is a criminal And all the sinners
saints As heads is tails Just call me Lucifer
Cause I'm
in need of some restraint So if you meet me Have some
courtesy Have some sympathy, and some taste
Use all your
well-learned politesse Or I'll lay your soul to waste, um
yeah Pleased to meet you Hope you guessed my name, um yeah
But
what's puzzling you Is the nature of my game, um mean it, get
down Woo, who Oh yeah, get on down
Oh yeah Oh
yeah! Tell me baby, what's my name Tell me honey, can ya guess
my name
Tell me baby, what's my name I tell you one time,
you're to blame Ooo, who Ooo, who
Ooo, who Ooo, who,
who Ooo, who, who Ooo, who, who
Ooo, who, who Oh,
yeah What's my name Tell me, baby, what's my name
Tell
me, sweetie, what's my name Ooo, who, who Ooo, who, who Ooo,
who, who
Ooo, who, who Ooo, who, who Ooo, who, who Ooo,
who, who
Escrita por
George Harrison, foi gravada em 5 e 6 de setembro de 1968, e lançada
no White Album. Foi baseada no I Ching e fez comentários sobre a
desarmonia nos Beatles nesse tempo. A guitarra solo foi tocada por
Eric Clapton.
É a canção
de número 136 das 500 maiores canções de todos os tempos da
revista Rolling Stone. Número 7 na lista das 100 maiores canções
de guitarra de todos os tempos da mesma revista e décima na lista
das cem maiores canções dos Beatles. Guitar world elegeu a melhor
música de George nos Beatles.
George
escreveu-a na casa de sua mae em Warrington. Fala do conceito
oriental que tudo é como deve ser e não coincidencia como acreditam
os ocidentais. George chamou Eric pra fazer o solo, mas Eric não
queria,alegando que ninguém nunca havia tocado nos discos dos
Beatles, mas foi convencido. George Harrison disse que a presença de
Clapton trouxe uma atmosfera melhor pra banda, todos quiseram tocar
melhor.
While my
guitar gently weeps foi uma das únicas três músicas dos Beatles
que Paul tocou um Fender Jazz Bass em vez dos seus clássicos Hofner
ou Rickenbacker.
George
Harrison tocou violão, orgao Hammond, fez backing vocals e vocais
principais. John Lennon tocou guitarra eletrica com tremolo. Paul
tocou baixo, piano e fez backing vocals. Ringo tocou bateria,
pandeiro e castanets. Eric Clapton fez guitarra solo.
Foi
regravada por Peter Frampton e Santana, entre outros artistas.
A letra:
I look at you
all, see the love there that's sleeping While my guitar gently
weeps I look at the floor and I see it needs sweeping Still my
guitar gently weeps
I don't know why nobody told you How to
unfold your love I don't know how someone controlled you They
bought and sold you
I look at the world and I notice it's
turning While my guitar gently weeps With every mistake we must
surely be learning Still my guitar gently weeps
Well...
I
don't know how you were diverted You were perverted too I don't
know how you were inverted No one alerted you
I look at you
all, see the love there that's sleeping
While my guitar
gently weeps Look at you all Still my guitar gently weeps
A versão de
Ringo Starr, George Harrison e Eric Clapton ao vivo em 1987:
A versão de
Eric Clapton, Ringo, Paul McCartey e outros no tributo à George:
Escrita por
Barry Mann e Cynthia Weil em 1965, foi gravada pelos Monkees no album
deles chmado Headquarters, o primeiro onde o grupo tocou os
instrumentos na gravação. Os vocais principais foram feitos por
Davy Jones e Peter Tork.
Foi
regravada antes pelos Will-O-Bees em 1966, mas não obteve muito
sucesso. Também foi regravada pelos Sons of Champlin na mesma época
dos Monkees.
A letra:
When the world
and I were young Just yesterday Life was such a simple game A
child could play It was easy then to tell right from wrong Easy
then to tell weak from strong When a man should stand and fight Or
just go along
But today there is no day or night Today
there is no dark or light Today there is no black or white Only
shades of gray
I remember when the answers seemed so clear We
had never lived with doubt or tasted fear It was easy then to tell
truth from lies Selling out from compromise Who to love and who
to hate The foolish from the wise
But today there is no day
or night Today there is no dark or light Today there is no
black or white Only shades of gray
[Instrumental
interlude]
It was easy then to know what was fair When
to keep and when to share How much to protect your heart And
how much to care
But today there is no day or night Today
there is no dark or light Today there is no black or white Only
shades of gray Only shades of gray
Escrita por
George Harrison, foi gravada 15 e 22 de março e 3 de abril de 1967,
nos estúdios Abbey Road, em Londres. Foi lançada em 26 de maio de
1967 no disco Sgt. Pepper's Lonely Hearts Club Band.
Foi a
segunda composição de Harrison em estilo indiano. A primeira foi
Love you to. Foi inspirada nas seis semanas que ele passou na Índia
com Ravi Shankar, seu mentor e professor de Cítara. Foi gravada sem
nenhum outro Beatle. A instrumentação foi feita com instrumentos
indianos como Cítara, Tabla e Dilruba. Foram tocados por Harrison e
membros do Asian Music Circle.
Foi
regravada pelo Oasis, Patti Smith, Cheap Trick, entre outros.
George
começou a escrever Within you without you na casa do seu amigo, o
músico e artista K;aus Voormann, num suburbio ao norte de Londres
chamado Hampstead. A inspiração imediata veio do jantar, em que
eles discutiam o espaço metafísico que prevenia os indivíduos de
reconhecerem as forças naturais que unem o mundo. A frase inicial
veio: “We were talking about the space between us all”...
Only a
Northern Song, composição de George, foi descartada do disco e
então ele compôs essa pra substituir. Ele já não estava com
interesse em trabalhar com os Beatles. Para ele, que havia voltado da
Índia, trabalhar de novo com os Beatles era um retrocesso. John
Lennon assistiu a gravação, junto com Peter Blake e John Barham.
Stephen
Stills gosta tanto dessa canção que tem a letra gravada num
monumento no seu jardim. John Lennon também era fã da música. Foi
regravada por Oasis, Cheap Trick, Patti Smith, entre outros artistas.
A letra:
We were talking
about the space between us all And the people who hide themselves
behind a wall of illusion Never glimpse the truth, then it's far
too late, when they pass away We were talking about the love we
all could share When we find it, to try our best to hold it there
with our love With our love, we could save the world, if they only
knew
Try to realise it's all within yourself No one else
can make you change And to see you're really only very small And
life flows on within you and without you
We were talking about
the love that's gone so cold And the people who gain the world and
lose their soul They don't know, they can't see, are you one of
them?
When you've seen beyond yourself then you may find Peace
of mind is waiting there And the time will come when you see we're
all one And life flows on within you and without you
Escrita por
Donovan, foi lançada em dezembro de 1967 no compacto que tinha Oh
Gosh como Lado B. Se tornou a música de abertura do seu disco A
gift from a flower to a garden. Chegou ao número 23 nos Estados
Unidos.
A canção
cita sete tipos de cores e pigmentos: Prussian blue, scarlet,
crimson, havana lake, carmine, rose carmethene e alizarin crimson.
Foi
regravada por Sarah McLachlan e Richie Havens, entre outros artistas.
A letra:
Color in sky,
prussian blue Scarlet fleece changes hue Crimson ball sinks
from view Wear your love like heaven (Wear your love like) Wear
your love like heaven (Wear your love like) Wear your love like
heaven (Wear your love)
Lord, kiss me once more Fill me
with song Allah, kiss me once more That I may, that I may Wear
my love like heaven (Wear my love like) Wear my love like heaven
(Wear my love) La-la, la-la-la, la-la-la, la-la-la
Color
sky, havana lake Color sky, rose carmethene Alizarin
crimson Wear your love like heaven (Wear your love like) Wear
your love like heaven (Wear your love like) Wear your love like
heaven (Wear your love)
Lord, kiss me once more Fill me
with song Allah, kiss me once more That I may, that I may Wear
my love like heaven (Wear my love like) Wear my love like heaven
(Wear my love) La-la, la-la-la, la-la-la, la-la-la
Cannot
believe what I see All I have wished for will be All our race
proud and free Wear your love like heaven (Wear your love
like) Wear your love like heaven (Wear your love like) Wear
your love like heaven (Wear your love)
Lord, kiss me once
more Fill me with song Allah, kiss me once more That I may,
that I may Wear my love like heaven (Wear my love like) Wear my
love like heaven (Wear my love) Carmine Carmine
Escrita por
Dave Mason, foi lançada em agosto de 1967 pelo Traffic, em um
compacto que tinha Smiling phases como Lado B. Chegou ao número 2
nos charts britânicos e número 22 nos charts alemães.
Nenhum
membro da banda alem de Mason gostou da música. Disseram que não
representava o som do Traffic.
A letra:
I looked to the
sky Where an elephant's eye Was looking at me From a
bubblegum tree And all that I knew The hole in my shoe Was
letting in water (letting in water)
I walked through a field
That just wasn't real Where 100 tin soldiers Would shoot at
my shoulder And all that I knew The hole in my shoe Was
letting in water (letting in water)
(I climbed on the back of
a giant albatross Which flew through a crack in the cloud To a
place where happiness reigned all year round Where music played
ever so loudly)
I started to fall And suddenly woke And
the dew on the grass It stuck to my coat And all that I
knew The hole in my shoe Was letting in water (letting in
water)
Escrita por
Lou Reed, foi gravada em 25 de abril de 1966, em New York City e
lançada e 12 de março de 1967 no disco The Velvet Underground And
Nico.
O riff
sincopado de guitarra foi tirado da canção de Marvin Gaye de 1962
chamada Hitch Hike.
Foi
regravada pelo R.E.M., em 1983.
Lou Reed
cantou e tocou guitarra solo. John Cale tocou baixo e fez backing
vocals. Sterling Morrison tocou guitarra base e fez backing vocals.
Maureen Tucker tocou percussão.
A letra:
There she goes
again She's out on the streets again She's down on her knees,
my friend But you know she'll never ask you please again Now
take a look, there's no tears in her eyes She won't take it from
just any guy, what can you do You see her walkin' on down the
street Look at all your friends she's gonna meet You better hit
her There she goes again She's knocked out on her feet
again She's down on her knees, my friend But you know she'll
never ask you please again Now take a look, there's no tears in
her eyes Like a bird, you know she would fly, what can you do You
see her walkin' on down the street Look at all your friends that
she's gonna meet You better hit her Now take a look, there's no
tears in her eyes Like a bird, you know she will fly, fly, fly
away See her walking on down the street Look at all your
friends that she's gonna meet She's gonna bawl and shout She's
gonna work it She's gonna work it out, bye bye Bye bye baby All
right
Escrita por
Cat Stevens, foi gravada inicialmente pelos Tremeloes e lançada por
eles em Janeiro de 1967. Mas a versão que escolhemos foi a do
próprio Cat Stevens, gravada em primeiro de fevereiro de 1967 e
lançada em 10 de março de 1967, no disco Matthew and Son.
A letra:
In the midnight moonlight I'll be
walking a long and lonely mile. And every time I do, I keep seeing
this picture of you.
Here's comes my baby, here she comes
now, And it comes as no surprise to me, with another guy. Here's
comes my baby, here she comes now, Walking with a love, with a
love that's all so fine, Never could be mine, no matter how I
try.
You never walk alone, and you're forever talking on the
phone. I've tried to call you names, but every time it comes out
the same.
Here's comes my baby, here she comes now, And it
comes as no surprise to me, with another guy. Here's comes my
baby, here she comes now, Walking with a love, with a love that's
all so fine, Never could be mine, no matter how I try.
I'm
still waiting for your heart, cuz I'm sure that some day it's gonna
start. You'll be mine to hold each day, but 'til then this is all
that I can say.
Here's comes my baby, here she comes now, And
it comes as no surprise to me, with another guy. Here's comes my
baby, here she comes now, Walking with a love, with a love that's
all so fine, Never could be mine, no matter how I try.
Escrita por
Ritchie Cordell, foi lançada por Tommy James and The Shondells em 5
de janeiro de 1967, num compacto que tinha Gone, gone, gone como Lado
B. Chegou ao número 4 dos charts pop americanos. Foi regravada por
vários artistas. Em 1987, Tiffany chegou ao número 1 em vários
países, incluindo Estados Unidos, Reino Unido, Canadá e Nova
Zelândia.
Apenas Tommy
James e Eddie Gray, da banda, participaram da gravação. O resto dos
membros fizeram backing vocals. O resto dos músicos na gravação
foram músicos de estúdio. Al Gorgoni tocou guitarra e Paul Griffin
tocou piano, entre outros músicos.
A letra fala
de fazer coisas proibidas.
Foi
regravada por Lene Lovich em 1978, por Tiffany, em 1987, como dito
anteriormente, Snuff gravou-a em 1989 e novamente em 1998, foi também
regravada pelas Girls Aloud, em 2006. Além dessas versões, ainda
foi regravada pelos Turtles, por Gary Lewis and The Playboys, entre
outros artistas.
A letra:
"Children,
behave" That's what they say when we're together "And
watch how you play" They don't understand
And so we're
running just as fast as we can Holding on to one another's
hand Trying to get away into the night And then you put your
arms around me As we tumble to the ground and then you say
I
think we're alone now There doesn't seem to be anyone around I
think we're alone now The beating of our hearts is the only
sound
Look at the way We gotta hide what we're doing 'Cause
what would they say If they ever knew
And so we're running
just as fast as we can Holding on to one another's hand Trying
to get away into the night And then you put your arms around me
As we tumble to the ground and then you say
I think we're
alone now There doesn't seem to be anyone around I think we're
alone now The beating of our hearts is the only sound
I
think we're alone now There doesn't seem to be anyone around I
think we're alone now The beating of our hearts is the only
sound I think we're alone now There doesn't seem to be anyone
around I think we're alone now
Escrita por
Leonard Cohen, foi gravada em outubro e novembro de 1967, nos
estúdios da Columbia, em New York City e lançada em 27 de dezembro
de 1967, no disco Songs of Leonard Cohen. Ele disse que a escreveu
enquanto estava sob o efeito de anfetamina e perseguindo uma loira
que ele havia visto num poster nazista.
A letra:
I lit a thin
green candle, to make you jealous of me. But the room just filled
up with mosquitos, they heard that my body was free. Then I
took the dust of a long sleepless night and I put it in your
little shoe. And then I confess that I tortured the dress that
you wore for the world to look through. I showed my heart to the
doctor: he said I just have to quit. Then he wrote himself a
prescription, and your name was mentioned in it! Then he
locked himself in a library shelf with the details of our
honeymoon, and I hear from the nurse that he's gotten much worse
and his practice is all in a ruin.
I heard of a saint who
had loved you, so I studied all night in his school. He
taught that the duty of lovers is to tarnish the golden rule.
And just when I was sure that his teachings were pure he
drowned himself in the pool. His body is gone but back here on
the lawn his spirit continues to drool.
An Eskimo showed
me a movie he'd recently taken of you: the poor man could
hardly stop shivering, his lips and his fingers were blue. I
suppose that he froze when the wind took your clothes and I guess
he just never got warm. But you stand there so nice, in your
blizzard of ice, oh please let me come into the storm.
Foi gravada entre agosto e novembro de 1966 e lançada
em 20 de janeiro de 1967 no disco Between the buttons.
É a única canção do disco que Mick Jagger disse que
gosta.
Mick Jagger cantou e estalou os dedos. Keith Richards
tocou violão. Brian Jones tocou vibraphone. Bill Wyman tocou baixo.
Charlie Watts tocou pandeiro e claves. Nick de Caro tocou Acordeon e
Jack Nitzsche tocou harpsichord.
Foi regravada por Bobby Darin e Marianne Faithfull ,
entre outros artistas.
A letra:
I don't
want you to be high I don't want you to be down Don't want to
tell you no lie Just want you to be around
Please
come right up to my ears You will be able to hear what I say
Don't
want you out in my world Just you be my backstreet girl
Please
don't be part of my life Please keep yourself to yourself Please
don't you bother my wife That way you won't get no help
Don't
try to ride on my horse You're rather common and coarse anyway
Don't
want you out in my world Just you be my backstreet girl
Please
don't you call me at home Please don't come knocking at
night Please never ring on the phone Your manners are never
quite right
Please
take the favors I grant Curtsy and look nonchalant, just for me
Don't
want you part of my world Just you be my backstreet girl
A versão dos Rolling Stones:
A versão de Bobby Darin:
A versão de Marianne Faithfull e
Fernando Saunders:
Escrita por
Gary Brooker and Keith Reid, foi lançada pelo Procol Harum em 22 de
setembro de 1967, no compacto que tinha Good captain Clack como Lado
B.
Foi o
compacto que veio logo após o hit gigante deles, A whiter shade of
pale. Homburg chegou ao número 6 nos charts britânicos, número 15
no Canadá e número 34 nos Estados Unidos. Foi número 1 em vários
países, incluindo Austrália, África do Sul e Holanda. Uma versão
em italiano chegou ao número da Itália e ficou nessa posição por
10 semanas.
A letra:
Your multilingual business friend has
packed her bags and fled Leaving only ash-filled ashtrays and
the lipsticked unmade bed The mirror on reflection has climbed
back upon the wall for the floor she found descended and the
ceiling was too tall Your trouser cuffs are dirty and your
shoes are laced up wrong you'd better take off your homburg 'cos
your overcoat is too long The town clock in the market
square stands waiting for the hour when its hands they both
turn backwards and on meeting will devour both themselves and
also any fool who dares to tell the time And the sun and moon
will shatter and the signposts cease to sign
Escrita por
John Phillips and Michelle Phillips, foi lançada pelos The Mamas and
The Papas em abril de 1967, em um compacto que tinha Did you ever
want to cry como Lado B.
É uma
canção autobiográfica, que conta como o grupo foi formado, anos
antes. Chegou ao número 5 dos charts pop americanos, número 9 no
Reino Unido e número 4 no Canadá.
O nome se
deu ao nome de um e nas Ilhas Virgens, aonde alguns membros do grupo
passavam suas férias.
A letra:
John and
Mitchie were gettin' kind of itchy Just to leave the folk music
behind; Zal and Denny workin' for a penny Tryin' to get a fish
on the line. In a coffee house Sebastian sat, And after every
number they'd pass the hat. McGuinn and McGuire just a-gettin'
higher in L.A., You know where that's at. And no one's gettin'
fat except Mama Cass. Zallie said, "Denny, you know there
aren't many Who can sing a song the way that you do; let's go
south." Denny said, Zallie, golly, don't you think that I
wish I could play guitar like you." Zal, Denny, and
Sebastian sat (at the Night Owl) And after every number they'd
pass the hat. McGuinn and McGuire still a-gettin higher in
L.A., You know where that's at. And no one's gettin' fat except
Mama Cass.
When Cass was a sophomore, planned to go to
Swathmore But she changed her mind one day. Standin' on the
turnpike, thumb out to hitchhike, "Take me to New York right
away." When Denny met Cass he gave her love bumps; Called
John and Zal and that was the Mugwumps. McGuinn and McGuire
couldn't get no higher But that's what they were aimin' at. And
no one's gettin' fat except Mama Cass.
Mugwumps, high jumps,
low slumps, big bumps - Don't you work as hard as you play. Make
up, break up, everything is shake up; Guess it had to be that
way. Sebastian and Zal formed the 'Spoonful; Michelle, John,
and Denny gettin' very tuneful. McGuinn and McGuire just
a-catchin' fire in L.A., You know where that's at. And
everybody's gettin' fat except Mama Cass.
Broke, busted,
disgusted, agents can't be trusted, And Mitchie wants to go to the
sea. Cass can't make it; she says we'll have to fake it - We
knew she'd come eventually. Greasin' on American Express
cards; Tents low rent, but keeping out the heat's hard. Duffy's
good vibrations and our imaginations Can't go on indefinitely. And
California dreamin' is becomin' a reality...
Escrita por
Gsry Beisber e Jim Holvay, foi lançada pelos Buckinghams em março
de 1967, em um compacto que tinha Why don't you love me como Lado B.
Chegou ao
número 6 nos Estados Unidos e número 4 no Canadá.
A letra:
If you don't love me Why don't you tell
me Instead of running around With all the other guys in
town Can't you see You're hurting me Don't you care Don't
you care
If you don't want me Why don't you tell me Instead of
telling lies And making me cry Can't you see You're hurting
me Don't you care Don't you care
Whatever happened To all the good times we used to have The
times we cried and laughed I want to know, I want to know Will
you ever love me again Or will I find out that this is the
end Don't you care My my my my baby
You said that you'd believe me Then why'd you ever leave me I'm
standing here all alone Without a girl of my own Can't you
see You're hurting me Don't you care Don't you care
Don't you care Don't you care Don't
you care Don't you care Don't you care Don't you care
Escrita
por Allan Clarke, Graham Nash e Tony Hicks, foi gravada em 1 de maio
de 1967, no estúdio Abbey Road, em Londres e lançada em 26 de maio
de 1967, no compacto que tinha Signs that will never change como Lado
B. Foi produzida por Ron Richards. Chegou ao número 9 no Billboard
Hot100. Chegou ao número 3 no Reino Unido, número 4 na Holanda e
Irlanda, número 7 na Noruega e Australia, número 8 na Alemanha
Ocidental e número 9 no Canadá. Foi feita durante uma turnê com
Tom Jones e as harmonias vocais se assemelham muito com as dos Beach
Boys. Tem um solo de Steelpan e foi a primeira vez que o instrumento
foi gravado em uma música pop. Foi tocado por um rapaz de Trinidad y
Tobago chamado Ralph Richardson. Foi um tributo à Marianne
Faithfull.
When
we were at school, our games were simple I played a janitor, you
played a monitor Then you played with older boys and
prefects What's the attraction in what they're doing?
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
You
were always something special to me Quite independent, never
caring You lost your charm as you were aging Where is your
magic disappearing?
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
You're
so, so like a woman to me (So like a woman to me) So, so like
a woman to me (Like a woman to me)
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
People
live and learn but you're still learning You use my mind and I'll
be your teacher When the lesson's over, you'll be with me Then
I'll hear the other people saying
Hey,
Carrie Anne, what's your game now? Can anybody play? Hey,
Carrie Anne, what's your game now? Can anybody play?
Escrita por Leonard
Cohen, foi gravada em outubro e novembro de 1967, nos estúdios da
Columbia, em New York City e lançada em 27 de dezembro de 1967, no
disco Songs of Leonard Cohen.
Master song foi escrita
num banco de pedra, que tem situado entre as ruas Guy e Burnside.
I believe that you heard your master
sing when I was sick in bed. I suppose that he told you
everything that I keep locked away in my head. Your master
took you travelling, well at least that's what you said. And
now do you come back to bring your prisoner wine and bread? You
met him at some temple, where they take your clothes at the door.
He was just a numberless man in a chair who'd just come back
from the war. And you wrap up his tired face in your hair and
he hands you the apple core. Then he touches your lips now so
suddenly bare of all the kisses we put on some time before.
And he gave you a German Shepherd to
walk with a collar of leather and nails, and he never once
made you explain or talk about all of the little details, such
as who had a word and who had a rock, and who had you through the
mails. Now your love is a secret all over the block, and it
never stops not even when your master fails.
And he took you up in his aeroplane,
which he flew without any hands, and you cruised above the
ribbons of rain that drove the crowd from the stands. Then he
killed the lights in a lonely Lane and, an ape with angel glands,
erased the final wisps of pain with the music of rubber
bands.
And now I hear your master sing, you
kneel for him to come. His body is a golden string that your
body is hanging from. His body is a golden string, my body
has grown numb. Oh now you hear your master sing, your shirt
is all undone.
And will you kneel beside this bed
that we polished so long ago, before your master chose
instead to make my bed of snow? Your eyes are wild and your
knuckles are red and you're speaking far too low. No I can't
make out what your master said before he made you go.
Then I think you're playing far too
rough for a lady who's been to the moon; I've lain by this
window long enough to get used to an empty room. And your
love is some dust in an old man's cough who is tapping his foot
to a tune, and your thighs are a ruin, you want too much, let's
say you came back some time too soon.
I loved your master perfectly I
taught him all that he knew. He was starving in some deep mystery
like a man who is sure what is true. And I sent you to him
with my guarantee I could teach him something new, and I
taught him how you would long for me no matter what he said no
matter what you'd do.
I believe that you heard your master
sing while I was sick in bed, I'm sure that he told you
everything I must keep locked away in my head. Your master
took you travelling, well at least that's what you said, And
now do you come back to bring your prisoner wine and bread?